ABOUT THIS BOOK

Hidden in Plain Sight: Jews and Jewishness in British Film, Television, and Popular Culture is the first collection of its kind on this subject. The volume brings together a range of original essays that address different aspects of the role and presence of Jews and Jewishness in British film and television from the interwar period to the present. It constructs a historical overview of the Jewish contribution to British film and television, which has not always been sufficiently acknowledged. Each chapter presents a case study reflective of the specific Jewish experience as well as its particularly British context, with cultural representations of how Jews responded to events from the 1930s and '40s, including World War II, the Holocaust, and a legacy of antisemitism, through to the new millennium.

AUTHOR BIOGRAPHY

NATHAN ABRAMS is a professor of film studies at Bangor University in Wales.

REVIEWS

“Abrams makes a significant contribution to a broader field of Judaic studies, while contributing something notable to the specific analysis of Jews in British film and television. Simply put, this is an excellent collection and a much needed work. There is not a chapter here that I did not enjoy reading.” —James Chapman, editor of The Historical Journal of Film, Radio, and Television

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TABLE OF CONTENTS

Acknowledgements
Nathan Abrams, “Introduction.”

Gil Toffell, “‘Awaiting, with some anxiety’: The Jewish response to Jew Suss (1934) in 1930s Britain.”
Phyllis Lassner & Alexis Pogorelskin, “An Anti-Nazi Special Relationship: British Writing, Hollywood Filmmaking, and The Mortal Storm (1940).”
Lawrence Baron, “Mr. Emmanuel (1944): A Belated British Film about Nazi Antisemitism.”
Michael Berkowitz, “Jewish questions lurking in Peeping Tom (1960).”
Gavin Schaffer, “‘You don’t cure a problem by sweeping it under the carpet’: Jews, Sitcoms, and Race Relations in 1960s Britain.”
Rachel Garfield, “From The Evacuees to Grandma’s House: Class and Jewish Identity on British Television, 1975-2012.”
Donald Weber, “Peckhlach: Mike Leigh’s Jewish Soul.”
Claudia Sternberg, “From Pig Farmer to Infidel: Hidden Identities, Diasporic Infertility, and Transethnic Kinship in Contemporary British Jewish Cinema.”
Michele Byers, “On the Threshold: British-Jewish Femininity in Suzie Gold (2004).”
Sue Vice, “Christmas Trees and Hannukah Bushes: The ‘Emancipation Contract’ in the British Contemporary Television Dramas Hebburn and Friday Night Dinner.”
Nir Cohen, “Love and Betrayal: Politicized Romance in Peter Kosminsky’s The Promise (2011).”

Notes on Contributors

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